FOCI Arts’ series ANODE (“Artistic New Orleans: Discussions and Extensions”) returns in 2016 with San Francisco-based contemporary music trombonist Weston Olencki. Olencki specializes in hyper-extended instrumental technique, intensive performance physicality, and re-definition of the performing body. His ANODE 16.1 program will feature some of the most imaginative music of today, including work by Aaron Cassidy, Andrew Greenwald, Evan Johnson, Michelle Lou, Timothy McCormack, Philip Schuessler, and Katherine Young. Olencki’s severe commitment, unimpeachable focus, and stunning technique make him one of the most thrilling young performers in American contemporary music. He has performed with some of the country’s most significant new music ensembles, including Ensemble Dal Niente, Fonema Consort, and Wild Rumpus, and is a recipient of a prestigious Stipendenpreis from the Internationales Musikinstitut Darmstadt. His visit to New Orleans promises to explore the very outer reaches of the musically and humanly possible.
ANODE 16.1 will consist of a performance and preconcert talk by Olencki and New Orleans-based composer Ray Evanoff at Southeastern Louisiana University on April 7, 2016, and a concert presented in conjunction with Versipel New Music in New Orleans on April 9, 2016 at Coup d'oeil Art Consortium. Details and full program to be announced soon.
Saturday evening FOCI Arts ( https://fociarts.com/ ) brought Omaha-based soprano Amanda Deboer Bartlett and New Orleans-based poet Lauren Capone to Coup. Ms. Bartlett performed works of contemporary music composers George Aperghis and Ray Evanoff, and Ms. Capone read poems from her collection The Hat Lady Equation as well as selected works from a few of her favorite poets. The performances were experienced alongside Coups current exhibit The BEAUTY FOOLS.
The Jedlitschka Gallery is pleased to present the first solo exhibition of paintings in Zürich, by the artist Chris Dennis.
The exhibition will run from March 31st 2016, through May 21st, 2016 with an opening reception on Thursday, March 31 from 5pm to 8 pm. The artist will be in attendance.
New Paintings by Chris Dennis.
“When I said I paint the same things again and again because I think about the same things again and again, did you think I was joking?”
Chris Dennis paints his images within a visual world he began to construct in 1996, when he produced a series of paintings based on a collection of short stories by Bret Easton Ellis called The Informers. His figures, with animal heads, are not some other-worldly creatures from Science fiction. They are masks or disguises. The likeness may be hidden but the choice of animal tells its own truth. From here, Chris explores ideas about biography /autobiography, authorship and the unreliable source.
MOTIF/ MOTIVE is an exhibition presented literally in two halves and depicts a split in the mind of ‘the Painter’. This fugue state, not unlike that portrayed by David Lynch in his film, Lost Highway blurs the line between truth and untruth, fantasy and reality.
The left hand side of the gallery displays 9 panels that appear considerably larger to anyone aware of Chris’ previous work. Familiar figures with the heads of fish are placed in landscapes surrounded by water and dominated by an empty horizon. He, sometimes she, sometimes a couple look out on dark water and stormy skies, that threaten pain that is hinted at in paintings titled, A Lake and Promises, Promises but is clearly visible on the skin of the female figure in The Sting.
Around their feet, the shoreline is littered with the past - used matches, crusted, old and splattered paint. And then there is the text. Does it explain, confuse or simply amuse?
On the wall opposite are more numerous, smaller paintings, hung erratically at strange sight-lines. Our eyes dart around as we voyeuristically spy a series of female figures with bird heads. WE are focused on THEM. Their surroundings are clumsily dismissed or ignored and are interspersed with panels of bright white and bare plywood that is ubiquitous in the gallery and art fair. Something is unattainable in these images, be it from the covetous gaze of the viewer, or the wingless, figures who cannot escape the confinement of their cramped compositions.
These 2 sides collide in the centre. A single portrait (the largest piece in the show) looks down on the not too comfortable chair, cell phone, Starbucks, paperback, left behind by a ‘Gallerina’ or ‘Museumsaufsicht’.
Drifting sand invades from the left, littered with the detritus produced by these very paintings that will in time bury all trace of the other.
Chris Dennis Moved to Zürich in 2013 and joined the gallery soon after. Born (1974) in The South of England he received his BA (Hons) from the University of Wolverhampton in 1996. He has lived in Berlin and New Zealand and spent 13 years in the United States, earning in 2000, his MFA from the University of Art College in San Francisco. He has exhibited continuously, in cities including London, Brighton, San Francisco, New York, New Orleans, Baton Rouge,
Nashville, Miami, Berlin, Auckland, St. Gallen and Zürich.
On Friday, May 13th at 6pm, there will be a Q&A with the artist, hosted by Dr. Mark Staff Brandl. Visitors will be invited to submit questions throughout the duration of the exhibition, on-line and via a box on the chair of the installation.
Please contact the gallery with further questions or enquiries.
After Seven Years The Beauty Fools Is Released With An Art Exhibition
Book Release and Opening Reception
Saturday, March 5th ·
Coup d’oeil Art Consortium, 2033 Magazine Street
ORLEANS—After the chaos of Hurricane Katrina, a
package arrived on the Lower Garden District doorstep of New Orleans-based
editor Timothy Alan Weeks and artist Lala Rascic. Inside the package, sent from
All Souls, England,
was a manuscript and a handwritten message that read simply, “Please
understand.” Over the following seven years, Weeks edited
the manuscript down to 100,000 words and Rascic brilliantly illustrated the
characters and their environs to create The
Beauty Fools, a sprawling “Southern Baroque” tale that follows its
protagonists through celebration and collapse in 1990’s New
first read the manuscript, I felt that this was quite possibly the greatest
literary find since A Confederacy of
Dunces,” said Weeks.
The Beauty Fools team produced a limited
pre-edition run of 300 copies designed in collaboration with the award-winning
Hamper Studio in Zagreb, Croatia.
This exquisite volume is shaped and proportioned as an oversized box of tarot
cards, placed in an embossed and gold foiled box. In addition to the book, each
box contains a small deck of colorized illustrations from the book, expanding
on the tarot card theme. The pre-edition run will be available exclusively at
Coup d’oeil Art Consortium at a price of $36.00 per book.
the launch of the book, Coup d’oeil Art Consortium (2033 Magazine Street) in
New Orleans will host a month-long exhibition featuring multimedia
installations inspired by The Beauty
Fools, a series of limited edition intaglio prints based on the book’s
illustrations, and a series of events and readings. The Beauty Fools exhibition will open to the public on Saturday,
March 5th from to and run through Saturday April, 9th
on Monday, Wednesday, Friday, and Saturday from to Copies of
the pre-edition and limited-edition intaglio prints can be reserved by calling
the gallery at (504) 722-0876.
The Beauty Fools team will also launch a
Kickstarter campaign to take pre-orders for the first edition and paperback
edition of the volume.
ABOUT THE BEAUTY FOOLS
The Beauty Fools is the tale of Blake
Kennedy, a young cynic who says “Why?
Why? Why?” until the charming Eliot Dejan and beguiling Miss Peaches teach
him how to say “Why Not?” and whisk
him away on a wild jaunt. Eliot and Miss Peaches, who embody the adage that living well is the best revenge, soon
introduce Blake to Doctor Kookie, a tarot card reader and slick street mystic
who guides the group on a crazed trip to the Mexican desert. The story – about
being young and having fun – takes place against the backdrop of famous (and
infamous) New Orleans landmarks: the Sazerac Bar of the Roosevelt, the
Victorian Lounge at the Columns Hotel, Jazz Fest, Commander’s Palace, Orpheum
Theater, Moonwalk, Napoleon House, R-Bar, Rocky & Carlo’s, and ends
tragically on Mardi Gras in the Royal Street courtyard that is now Café Amelie.
A tale about learning to fly – and flying too high.
fussing that contemporary novels are always 50 pages too long, and this story
was no different. Late one night at John Paul’s Bar, I wagered a friend that I
could make this glorious mess into magic. I always wanted to be Max Perkins.
And I finally found my Fitzgerald”
–Timothy Alan Weeks
The Beauty Fools contains 14
illustrations developed over a period of three years by visual artist Lala
Rascic. The illustrations are rendered in black and white, as they appear in
the book. The challenge of working on The
Beauty Fools was that the project was executed from scratch for a text from
an anonymous author. Rascic took inspiration from the book’s language to create
illustrations that were full and rich.
“The overall idea was
to represent the iconic New Orleans with its famous checklist of places, but also a rebellious, fun-loving,
and sometimes melancholic youth set loose on the CrescentCity and beyond.”
– Lala Rascic
Beauty Fools at Coup d’oeil Art Consortium
exhibition will use a space conventionally reserved for the display of the
visual arts to bring focus to text and enliven the generic model of a book
·The fourteen illustrations from The Beauty Fools will be released as a
series of intaglio prints in a limited edition of five. The black and white
edition will be printed on 14 x 20 in. acid free rag paper and signed and
numbered by artist Lala Rascic. One exhibition edition will be displayed at the
gallery, the remainder will be available for sale as an edition or
·A multimedia installation will bring words from
the book to life in a blacked out room of the gallery. Artifacts from the
production of the book and the accompanying illustrations will be displayed,
documenting the process.
“We wanted to explode
all the possibilities in a gesamkunstwerk exhibition that draws from all the
textual and visual elements of The Beauty Fools book and its story.”
–Timothy Alan Weeks
and Lala Rascic
Timothy Alan Weeks and Lala Rascic
Timothy Alan Weeks
is an editor, analyst, and project manager for a virtual company with numerous
Fortune 500 clients. Weeks was previously a financial analyst and editor for
both a Dutch and Belgian startup, and before that covered EU central bank
policy while living in Germany.
Besides writing sundry freelance articles for European business and lifestyle
magazines, he edited and published the English edition of a Swiss travel book.
Weeks is also the publisher of the Wise
Mullet children’s books series, which are based on the GulfCoast.
Lala Rascic is a
multimedia artist working across disciplines that include performance, video,
installation, and painting. Her work has been exhibited internationally and is
part of both private and public collections, including Croatia's
Museum of Contemporary
Art. Rascic was awarded artist residencies at the
Rijksakademie in Amsterdam,
Platform Garanti in Istanbul,
KulturKontakt in Vienna, and Cité
des Arts in Paris, and in 2013 was
the recipient of a Future of Europe award in Leipzig.
Rascic divides her time between her native Sarajevo,
Zagreb, and New
Orleans, where she is a member of artist-run Good
Children Gallery on St. Claude Street.
Coup D'oeil Art Consortium is privileged to feature Linda Troller's photographic revelation of life in a unique oasis from her internationally acclaimed book 'Living Inside the Chelsea Hotel' Schiffer Publishing , along with a restrospective representation of her distinguished books, exhibits , films , and lectures. (Reception with book signing)
To Ken Capone, the director of Coup d’oeil (with whom I have had many conversations about art) I said, I don’t think I like these paintings...but I don’t think these paintings are trying to make me like them. For that I totally respect them.
The characters in these paintings are, well, off-putting. Some are pitiable, inspiring the urge to politely look away. Others are kind of scary. You want to look away but you don’t. These figures, often nude, sometimes clothed in sober neutrals do not look like good country people. In fact, even the country itself looks bereft of natural beauty. Take another route altogether if you can, but definitely don’t stop your car around here.
James Taylor Bonds The Felling 30 x 24 in
I don't know if any of these characters belong to Flannery O'Connor's short story Good Country People or even if the show is referring to this story, but they certainly share the author's sensibility and the looming air of malice in so many of her stories.
Content aside, most of these works are painted with a narrow palette. The couple that aren't seem like they might belong to an adjacent but different body of work. The breakdown of space is complicated, the figure/ground relationship somewhere between convincing and not convincing. The surface is reserved; only occasional brushmarks rise to a texture.
Believing a couple of the works were painted in oil, I thought maybe the artist used some low-quality oil paint. Then I learned that they were acrylic. This fact can account for flatness as well as the stiffer articulations of flesh and other textures. I have to admire what the artist accomplished in acrylic but I wonder if the attraction part of the attraction/repulsion response would be even stronger with optical complexity and luminosity of oil paint. And there are passages in the The Chosen (oil on canvas), in which the flesh gets really fleshy, not quite Lucian Freud fleshy, but fleshy.
This work is sort of haunted by art historical ghosts, though I find associations hard to pin down. The palette and composition sort of echo Thomas Hart Benton. The flavor of southern gothic reminded me of George Rodrigue’s pre-Blue Dog group portraits (which, in spite of myself, I find kind of interesting) Good Country People also reminded me of a Picasso painting. two actually, that I was recalling as one: Boy Leading a Horse and Family of Saltimbanques. Maybe it was the strangely posed figures, the rigid nudity, or the psychological heaviness. (By the way, I don’t really like Picasso’s paintings but you won't hear me argue that he was a genius.)
So while I cannot say I like these paintings this artist has my attention and respect. In the end I see something really important: the evidence of work, of hours and hours of labor and consideration, highly developed skills, and most significantly an artist pursuing his own strange vision on a scale that isn’t playing around.
One more point, not about the artwork but about the gallery, Coup d’oeil. On a local level, weird is okay but ugly is not. Not this kind of ugly. Not naked hillbilly ugly. In addition to acknowledging the artist’s chops and guts, I have to appreciate Ken Capone who owns a commercial (as in for-profit) gallery. He encourages artists to pursue their work as they feel compelled to even if (I imagine) profits might not follow. This work must be a hard sell for the kind of local art buyers who hang artwork in their dining rooms. One might not want to eat, sit, or sleep below a painting like The Chosen but Ken will show it anyway. And he deserves real props for that. (Some nice person should buy this painting and gift it to the Ogden.)
This body of work by James Taylor Bonds is a depiction of a temporary people in a temporary place, both marred by ongoing strife. Presented is a fictional society in a state of flux, living among the ruins of the American South trying to make sense of long forgotten cultural relics.
Please join Coup d’oeil Art Consortium in welcoming Paul Wright as our newest team member. Paul is taking on the Gallery Assistant position as of Aug 3rd. Paul comes to us as a New Orleans native, where he has had seven years experience in fine arts/design as a YA/YA and NOCCA alumni which offered him ample opportunities to hone his skills in creating, practicing, and demonstrating art. As an artist and as a youth advocate during those past six years, he identified opportunities for improvement, made constructive suggestions for change, and helped brainstorm solutions.
Wright works predominantly in the medium of acrylic painting portraiture, but also exercises skill in sculpture and large-scale installations. NOCCA alumni, Wright also studied illustration at Parsons the NewSchool for Design and received training at The Cow House Studios in Wexford, Ireland. Exhibited spaces include The Guggenheim Museum Theater, George Rodrigue Gallery, The Contemporary Arts Center, and The 5 Press Gallery. He has also been recently announced Emerging Artists-in-Residence at The Joan Mitchel Center here in New Orleans.
In addition to his experience and exuberant personality, he has a solid educational foundation and a passion for art. He is extremely enthusiastic about the focus on New Orleans Contemporary art and welcomes the opportunity to contribute to our ongoing success at Coup d’oeil. Please feel free to stop by the gallery to meet our newest team member and exhibition “SummerCity.” We are thrilled to have him on board!